Categories
Arts

Galleries and exhibitions this week 7/18/2006 – 7/24/2006


Forget about traffic noise and air pollution. In her work “Sunset After Midnight,” New York City-based artist Sue Sencer makes an imposing Manhatten appear serene by the light of the silvery moon. Sencer plays with light and shadows in her exhibition “Night Lights,” showing how even man-made structures can appear ethereal against the backdrop of nature. Through July 31 at La Galeria, 218 W. Market St. Monday-Friday, 11am-5:30pm; Saturday 11am-3pm. 293-7003.

Gallery listing is at editorial discretion. To have your show considered for inclusion, please provide the names of artists and shows, media used, contact information and show’s beginning and end dates.

Abundant Life 201 E. Main St., Suite Q (Above Zocalo). Monday, Tuesday and Thursday, 9-11am; Monday and Thursday, 1-5pm; Tuesday and Wednesday, 1-6pm. 979-5433. Through July 31: Paintings and sculpture by Jason Roberson.

Albemarle County Courthouse 501 E. Jefferson Court Sq. Monday-Friday, 9am-5pm. 804-362-3792. Through July 31: Central Virginia Watercolor Guild Members Awards Show.

Anderson and Strudwick 414 E. Market St., second floor. Monday-Friday, 9am-5pm. 293-8181. Through July 31: “Wanderings,” photography by Scott Keith.

Angelo 220 E. Main St., Downtown Mall. Monday-Saturday, 11am-6pm. 971-9256. Through August 31: “Lightness and Weight,” paintings and works on paper by Laura J. Snyder.

Art Upstairs 316 E. Main St., Downtown Mall. Wednesday-Saturday, noon-5pm. 923-3900. Through July 31: “Contrast by Design: Highlights and Shadows in Watercolor to Create Realism,” by Richard Gross.

Blue Ridge Beads and Glass 1724 Allied St. Monday-Saturday, 10:30am-5:30pm. 293-2876. Through July 31: New glass pieces, paintings and stained glass instruments by Jerry O’Dell.

Boutique Boutique 411 E. Main St., Downtown Mall. Monday-Saturday, 10am-5pm. 293-8400. Through July 31: “Married Life,” paintings by Baldwin North and Mindy North.

BozArt Gallery 211 W. Main St., Downtown Mall. Wednesday-Thursday, noon-6pm; Friday-Saturday, noon-9pm; Sunday 1-4pm. 296-3919.  Through July 30: “Ame-Technique,” a show in oils, spray paint, latex, trash and treasures by Kris Bowmaster.

Café Cubano 112 W. Main St., York Place, Downtown Mall. Monday-Tuesday, 6:30am-5pm; Wednesday-Saturday, 6:30am-10pm; Sunday 8am-5pm. 971-8743. Through July 31: Photography exhibition on Cuba by Tori Abrazo.

C & O 515 E. Water St. Monday-Friday, 9am-5pm by chance or appointment. Through July 26: “Figures,” a new show by John Hetzel

Charles L. Brown Science and Engineering Library Clark Hall, McCormick Road. Monday-Thursday, 8am-2am; Friday, 8am-9pm; Saturday 10am-6pm; Sunday 10am-2am. 924-7200. Through January 2007: “Exquisite History: The Land of Wandering,” prints by the Printmakers Left, artists and poets from UVA’s printmaking programs.

Charlottesville Community Design Center 101 E. Main St. Monday-Friday, 10am-4pm. 984-2232. Through August 25: “Working to Rebuild Pearlington, Mississippi after Katrina,” an exhibit from the Building Goodness Foundation.

County Office Building Second Floor Lobby 401 McIntire Rd. Monday-Friday, 8:30am-4:30pm. 295-2486. Through August 31: Charlottesville-Albemarle Art Association presents photographs by Charles Battig and paintings by Coy Roy.

Eppie’s Restaurant 412 E. Main St., Downtown Mall. Monday-Saturday, 11am-9pm. Through July 31: Mixed-media works by Julie Garcia.

Fifth Floor Gallery at Keller Williams 300 Preston Ave., Suite 500, Commonwealth Building. Monday-Friday, 8:30am-5:30pm. 220-2200. Through July: Oil paintings by Heliardo Aragao.

Fellini’s # 9 200 W. Market St. Tuesday-Sunday, 5-10pm. 979-4279. Through July 31: “Summertime Watercolors,” by Sunny Leng.

The Gallery at Fifth and Water Henderson & Everett, P.C. and Stoneking/von Storch Architects, 107 Fifth St. SE. Monday-Friday, 9am-5pm. 979-9825. Through July 31: “Diving Into Color,” oil paintings by Randy Sights Baskerville and “Xcalacoco,” photographs by Sarah Hormel Everett.

Glo 225 E. Main St. Monday-Saturday, 10am-6pm; Sunday 1-5pm. 295-7432. Through July 31: New oil paintings on canvas by Christian Peri.

Kluge-Ruhe Aboriginal Art Collection 400 Worrell Dr., Peter Jefferson Place. Tuesday-Saturday, 9am-3pm. 244-0234. Through August 19: “Mysterious Beauty: Edward L. Ruhe’s Vision of Australian Aboriginal Art;” through August 23: “Manta Wiru (Beautiful Land): Paintings from Amata.”

La Galeria 218 W. Market St. Monday-Friday, 11am-5:30pm; Saturday 11am-3pm. 293-7003. Through July 31: “Night Lights,” by Sue Sencer.

Lee Alter Studios 109 E. Jefferson St. 760-9658. Call for viewing.

Les Yeux du Monde 115 S. First St. Tuesday-Saturday, 11am-5pm. 973-5566. Through August 25: Gloria and David Lee.

McGuffey Art Center 201 Second St. NW. Tuesday-Saturday, 10am-5pm; Sunday 1-5pm. 295-7973. Through August 13: “Jean’s Gutsy Abstract Art Show,” oil paintings by Jean Sampson and “Summer Group Show” of members’ works.

Migration: A Gallery 119 Fifth St. SE. Tuesday-Saturday, 11am-6pm; First Fridays, 11am-8:30pm; Sunday and Monday by appointment. 293-2200. Through August 31: “Elemental Harmonies,” paintings by Suzanne Howes-Stevens and metal work by Jim Martin and “Inside/Out,” paintings by Lynn Boggess and clay vessels and plates by Tom Clarkson.

Mono Loco 200 W. Water St. Monday-Friday, 11:30am-10pm; Saturday 5:30-10pm; Sunday 11:30am-9pm. 979-0688. Through July 31: “Sand in the Eyes,” by George Andrews.

Mudhouse 213 W. Main St. Tuesday-Saturday, 7am-11pm; Sunday 8am-8pm; Monday 7am-8pm. 984-6833. Through July 31: New work by Sean Samoheyl.

New Dominion Bookshop 404 E. Main St. Monday-Wednesday and Saturday, 9:30am-5:30pm; Thursday-Friday, 9:30am-8pm; Sunday noon-5pm. 295-2552. Through July 31: “Chimeras and Dreamers,” recent oil paintings by Lisi Stoessel.

Sage Moon Gallery 420 E. Main St., Downtown Mall. Tuesday-Thursday, 12-8pm; Friday-Saturday, 10am-10pm; Sunday, 11am-7pm. 977-9997. Through July 31: A new exhibition by oil painter Raymond Chow.

Second Street Gallery City Center for Contemporary Arts, Second Street SE and Water Street. Tuesday-Saturday, 11am-6pm. 977-7284. Through August 12: “Love Letter Invitational,” a multimedia installation with works on the theme of love by local writers and artists in the May Dove Gallery. Includes contributions from Gregory Orr, John Casey, Paul Curreri, Rita Dove and the Printmakers Left.

Sidetracks 218 W. Water St. Monday-Saturday, 10am-6pm; Sunday, 1-5pm. 295-3080. Through July 31: “Drawn from Music,” music-inspired drawings by Laura Lee Gulledge.

Spruce Creek Gallery 1368 Rockfish Valley Hwy., Nellysford. 361-1859. Through August 7: “Party Animals,” paintings by Cynthia Burke.

Starr Hill Restaurant and Brewery 709 W. Main St., Tuesday–Sunday from 5pm. 977-0017. Through July: Photography by Sean Thomas.

Thomas Jefferson Memorial Church 717 Rugby Rd. Sunday-Friday, 9am-2pm. 293-8179. Through July: “Pants, Puppets and Web Comics,” by Skyler Breeden.

Transient Crafters 118 E. Main St., Downtown Mall. Monday-Thursday and Saturday, 10am-6pm; Friday 10am-9pm; Sunday noon-6pm. 972-9500. Through July 31: “Body of Work,” stained glass panels by Lynn Windsor.

UVA Art Museum 155 Rugby Rd. Tuesday-Sunday, 1-5pm. 924-3592. Through August 20: “Humanism and Enigma,” oil paintings by Honoré Sharrer in the main gallery. Through August 6: “Art/Not Art,” oceanic art and artifacts. Free to students and museum members, all others $3.

UVA Small Special Collections Library, McCormick Road. adjacent to Alderman Library. Main exhibit gallery hours: Monday-Saturday, 9am-1pm. Check library hours at www.lib.virginia.edu/hours. Through September: “The Style of Power: Building a New Nation,” with works drawn from the Library’s Special Collections, the UVA Art Museum, Monticello and Mount Vernon. Free.

UVA Main Hospital Lobby 1300 Jefferson Park Ave. Monday-Sunday, 7am-11pm. 924-5527. Through July 17: “Observation in Paint,” oils by Joan Ranzini.

White Orchid 420 W. Main St. Monday-Sunday, 11:30am-2pm, 5-10pm. 297-4400. Through August 31: “Photographs of Vietnam” by Georgia Barbour.

Categories
Arts

Highlights from this weeks events

Try This Now is a rotating listing of classes, workshops and ongoing events to help you broaden your horizons—take a hike, learn how to blow glass, or sign up your kid to act in a play. The schedule of topics goes as follows: First Tuesday of the month: Wellness; Second Tuesday: Kids; Third Tuesday: Arts and Fine Arts; Fourth Tuesday: Outdoors; Fifth Tuesday: Grab Bag. To get your event or organization listed, contact Susan Rosen at trythisnow@c-ville.com.

Acting for Film classes 1144 E. Market St. 977-1371. Offers weekly workshops on acting for film with Emmy-winning director. Call for days and times. $150 per month.

Actors’ Lab 123 E. Water St. 977-4177. www.livearts.org. Live Arts holds weekly intense acting workshop. Meets Saturdays through August 26, 10-11am. $15 drop-in fee.

Biscuit Run Studios potluck 981 Old Lynchburg Rd. 977-5411. www.biscuitrun.com. Hosts an open house and potluck supper every Wednesday, 6pm. Free.

Blue Ridge Beads & Glass 1724 Allied St. 293-2876. www.blueridgebeads-glass.com. Stained Glass Seminar is back. Every Saturday, 3-4:30pm. Free.

Charlottesville Camera Club 250 Pantops Mountain Rd. 973-4856. www.avenue.org/ccc. Visitors welcome, meets at Westminster Canterbury the second Tuesday of the month, 6:30pm. Free.

Charlottesville Salsa Club at Outback Lodge, 917 Preston Plaza. 979-7211. sunday

salsa@cvillesalsaclub.com. Sponsors Salsa and a beginning dance lesson every Sunday, 8pm. $5.

Charlottesville Writing Center offers several evening writing workshops for adults, including a poetry workshop July 24-27 and creative non-fiction workshops July 24-27 and August 14-17. All workshops: 6:30-8:30pm, $185. For more info: call 293-3702 or visit http://cvillewrites.org.

DanceFit Movement Center 609 E. Market St., Studio 110. 295-4774. www.njira.com/dancefit. Holds “DanceFit” every Tuesday and Thursday, 6:30pm. $10-13.

Film Series at Greene County Library 222 Main St., Stanardsville. 985-5227. Shows award-winning independent and foreign films (not rated, so assume mature content). Next meeting on July 19 reviews Familia, a Canadian film directed by Louise Archambault. Every third Wednesday. Free, 7pm.

Glass Palette classes 110 Fifth St. NE. 977-9009. Offers classes beginning the first week of every month. Classes run on four weeknights or two Saturdays. $200-250. Pre-registration required. Call or visit website for schedule. www.theglasspalette.net.

Kluge-Ruhe Collection tours 400 Worrell Dr. 244-0234. Offers 45-minute guided tours every Saturday, 10:30am. Free, no reservations necessary.

La Tertulia: Spanish Conversation Group at Central Library, 201 E. Market St. 979-7151. All levels welcome. Brush up on your Spanish the first Thursday of each month, 7pm.

Live Arts Summer Theater Institute 123 E. Water St. 977-4177. www.livearts.org. Session III: Laugh Out Loud: Comedy. July 24-August. 4. Sessions run Monday-Friday 9:30-3:30pm. $400-425.

Live glassblowing demonstrations at Sunspots-Charlottesville, 2039 Barracks Rd, Meadowbrook Shopping Center, corner of Emmet Street and Barracks Road. 977-5531. www.sunspots.com. Watch red-hot molten glass being formed into beautiful art objects.  Demonstrations offered Monday-Saturday, 10am-6pm.

The Live Poets Society at Gordon Avenue Library, 1500 Gordon Ave. 296-5544. Share original poetry or listen, the first Wednesday of the month, 7pm. Free.

Children’s Summer Writing Sessions Ruffner Hall, 405 Emmet St. The Charlottes-ville Writing Center offers two more July sessions: “Focus on Journal-Making/Family Scrapbooking,” July 24-28, and “Focus on the Writer,” July 31 through August 8. Classes held 10am-12pm for rising seventh, eigth and ninth graders and 1-3pm for rising fourth, fifth and sixth graders. $200. To register call: 293-3702.

Main Street Art Space Summer Art Program 328 Main St., Stanardsville. 985-6500. Offered by Noon Whistle Pottery. Classes on drawing, beading, clayworks and more for children and adults. Call or visit website for schedule. www.noonwhistlepottery.com.

McGuffey Art Center Summer Classes and Art Camps 201 Second St. NW. 295-7973. Offers numerous adult and teen workshops in the visual arts, theater and dance and art camps for kids. Call or visit website for schedule and registration information. www.mcguffeyartcenter.com.

Play Reading Series at Live Arts 123 E. Water St. 977-4177. www.livearts.org. Meets the second Sunday of the month, 3-6pm. Free.

Poem Site: Songs in the Landscape 2331 Highland Ave., Fry’s Spring. 295-5057. Features poetry by Laurance Wieder painted on a salvaged window, painting by Andrea Wieder and a take-it-with-you poem. New poem through September 15: “The Last Century” and new take-it-with you poem:

Shergold Dance Studio 652 W. Rio Rd. 975-4611. www.berkmarballroom.com. Offers a variety of evening dance classes, from tango to hip-hop. $32 for four lessons or $10 drop-in. See website for current schedule.

Smocking Arts Guild of America meeting 420 Shoppers World Ct. 295-1481. The Monticello Chapter meets the third Thursday of the month at Les Fabriques to discuss service projects, 7pm. $10 per year.

Studio Baboo workshops 321 E. Main St. 244-2905. www.studiobaboo.com. Holds several summer workshops, including: “Dew Drops Bracelet,” July 20, 5:30-7pm, $25; “Sumptuous Swirl Brooch or Pendant,” July 26, 10am-2pm, $35; and “Peyote Bracelet from a Charted Pattern,” July 29, 10am-4pm, $40. See website for full schedule.

Terry Dean’s Dance Studio 1309A Seminole Trail. 977-3327. www.terrydeansdancestudio.com. Terry offers weekly classes in partner styles from two-step to cha-cha. Partners are provided for singles. See website for current schedule. $10.

West African Drum Classes 1104 Forest St. 977-1499. Kevin Munro holds lessons at the Charlottesville Quaker Meeting House every Wednesday, 6-7pm. $70.

Zabor Dance 609 E. Market St. 804-303-2614. Offers half-hour classes in Argentine tango and nightclub salsa for beginners and intermediates, every Saturday. $6. For more info: call or email zabordance@yahoo.com.

Categories
The Editor's Desk

Letters to the editor

And I hate that Patsy Cline song, too!

On the cover of the July 11 issue of
C-VILLE, “Drive yourself crazy” is an unfortunate and dehumanizing choice of words. They are an affront to people who struggle to cope with symptoms of mental illness. Labels like “crazy,” “loony bin,“ funny farm,” etc., are dehumanizing to victims of mental illness. The stigma can deter people from seeking medical help.

Easter Mary Martin, RN
Charlottesville

Parkway politics
Your portrayal of McIntire Park as one of the “Places we’ll lose” [“A good walk, spoiled,” June 13] is inaccurate.
    The Meadowcreek Parkway, far from being a done deal, is about done in. Your article ignores Charlottesville’s recent election, the parkway’s legal troubles, and the fact that the City’s conditions for approval (even as espoused by the previous council) have not been met. That’s right—Charlottesville has not approved the parkway, and it cannot be built unless that happens.
    Perhaps you assumed otherwise because you’ve been taken in by the steering committee formed to study the interchange, which was selected and charged by the pro-parkway council when “build it now” guys Blake Caravati and Rob Shilling were still members. The rest of council back then said “no way” to a Parkway without a workable interchange (as they all do now) because traffic studies demonstrated its intersection with the 250 Bypass would otherwise immediately fail.
    And so the interchange became one of several explicit conditions for the City’s consent to the Parkway, along with adequate replacement park land (nope) and more roads in the county (most notably an eastern connector to carry traffic between north and east of Charlottesville, which would likely cut though Pen Park and is already being protested), which were supposed to lessen the increased traffic burden downtown would experience when the Parkway turned it into a short-cut.
    Two weeks ago I attended the steering committee’s “Citizen Informational Meeting.” Though there’s no mention of the parkway in the official title or purpose of the project, every version of the interchange shown to the public thus far includes a parkway. The “No build” pictures displayed, which supposedly show existing conditions of the site, have a Meadowcreek Parkway drawn in as if it were already there.
    When I asked one of the consultants about this, I was told the parkway had been approved. This fantasy is necessary because the money Senator John Warner porked over for the interchange comes with federal parkland protection laws which will apply to the parkway if its construction is contingent upon the interchange—hence, the parkway already exists.
Instead of exposing this creepy contortion of logic, you passed it off as truth.
Now is the time for Charlottesville’s Council to keep its word and vote a conservation easement along the path of this lingering nightmare and take the millions left over and build us a transit system to be proud of.

Stratton Salidis
Charlottesville

Call us, we’ll talk
In a recent story headlined “Restructuring arrives July 1” [UVA News, June 27] you called the Higher Education Financial and Administrative Operations Act “as complicated as its name suggests.” Yet, you allotted just 315 words to the topic and relied on only one source, an individual with no connection to the University. I continue to be concerned that your publication relies so heavily on one person’s feelings—not facts—about how the University operates.
     Your source says that she is “worried” that a new system might not be as good as the current State system.
    For those who have been paying attention, University leaders have been saying all along that the intention is to create a better HR system—one designed to meet the specific needs of higher education institutions. This process, expected to take place over the next two years, will be done with input from our employees.
    Sara Wilson, the State’s director of HR, here recently to meet with University employees on this topic, said she believes that restructuring is a good thing for higher ed, and that she will work closely with the University administration as it begins to think through another system that she expects will become the new model.
    I should note that no one is encouraging employees “to jump” to a new system once in place. Former Governor Warner, in his wisdom, was intending to create choices for employees by letting them decide whether to remain State classified employees or to become university employees.
    The challenge will be ours to create a system so outstanding that the new UVA HR system will become the first choice.

Carol Wood, assistant vice president for university relations
Charlottesville

The editor replies: The article’s author, John Borgmeyer, called UVA for comment while reporting this story. As noted in the original article, the call went unreturned.

Categories
News

“Hike” Heiskell won’t roll over for Ford Motor Company

The second-floor office is no bigger than 15′ x 20′, but it opens onto the world through a floor-to-ceiling window overlooking Court Square. A bookcase laden with few books, but with 30 3"-thick binders labeled “Ford Motor Co.,” “Bronco II,” “Exhibits,” “Cases,” “Decisions” and the like, serves as a backdrop to a large, wooden lawyer’s desk. A small tennis trophy with a marble base and golden racquet, two model planes and a framed photo of fighter jets break the imposing monotony of the meticulously labeled notebooks.

   Sixty-four-year-old Edgar “Hike” Heiskell is at the center of this scene, his legs crossed, hands loosely clenched in front of his chest. He’s wearing khakis into which he’s tucked a blue and white pinstriped shirt that sharpens his already sharp blue eyes. Patterned on his tie, a fox looks up and salivates over a bluebird on a branch. The fox salivates and salivates, but in each mini-scenario the bird escapes death.

   He may not be the Hollywood model of a rabble-rouser, but on the national auto industry stage Heiskell, a personal injury lawyer with Michie, Hamlett, Lowry, Rasmussen, & Tweel, is one of Detroit’s biggest and most persistent foes.

   “If I’m not public enemy No. 1, I’m in their Top 10,” he says quietly, with a hint of a smile and a touch of a Southern accent.

   Over the past decade Heiskell has prosecuted Ford Motor Company in 34 cases nationwide involving Bronco II and Explorer rollovers. The second-largest car company in the nation, Ford is No. 4 on the 2004 Fortune 500. Its products include Lincoln, Mercury, Mazda, Volvo, Jaguar, Land Rover and Aston Martin. Thirty-two of Heiskell’s cases have garnered settlements or jury verdicts in his clients’ favors totaling an estimated $22 million in payments and punitive damages. He’s definitively lost only two cases to the automotive giant.

   Heiskell is back in the news again of late, representing the victim in a reopened Ohio Bronco II case from the mid-’80s. A toddler when the accident happened, the victim is now a young man, and on his behalf Heiskell will argue that Ford rushed to settle before all the evidence came to light and that the original settlement does not sufficiently compensate the victim for his injuries. This case is Heiskell’s latest in his crusade to hold Ford’s feet to the fire.

    “When I realized Ford had made decisions that injured women and children around the country, that was the starting point. It just kept building in me,” he says. “Building and building the desire to hold Ford accountable.”

 

Growing up in Morgantown, West Virginia, in the 1940s and ’50s, the son and grandson of prominent local surgeons, Heiskell’s childhood was, as he describes it, “affluent.” He attended West Virginia University and did a stint in the Air Force before coming to UVA for law school, graduating in 1966. Heiskell then returned home and at the tender age of 31 became West Virginia’s first Republican secretary of state since Herbert Hoover.

   But the trial lawyer in him wouldn’t give up and he returned to private practice in 1975. A lifelong Republican, Heiskell was hardly thrilled about the way his party portrayed trial lawyers as the scum of the earth, with John Edwards as the dirty poster boy in the 2004 presidential election.

   “It really troubles me that my party has become the party of corporate America,” he explains. “Government has not been on the side of the little person. Even more so now after five years of the Bush Administration.”

   Heiskell himself has not always been on the side of the “little person.” In the early ’80s he made a name for himself representing R.J. Reynolds, the second-largest tobacco company in the United States, maker of Winston, Camel, Salem and Doral cigarettes.

   “He’s a zealot advocate,” says Dave Hendrickson, Heiskell’s former Morgantown partner. “He leaves no stone unturned. Whomever he represents, it’s his client and he represents them with passion.”

   The aim of Heiskell’s passion changed forever on January 5, 1991. That night, while going 42 miles per hour in his Bronco II, Heiskell’s friend and children’s gymnastics teacher, Gene Diaz (pronounced Die-ez), hit a patch of black ice on a bridge. The vehicle slipped sideways and then rolled over one and a half times. Diaz’s seatbelt malfunctioned and he was thrown onto the blacktop.

   “I read about it in the morning newspapers in Morgantown and didn’t realize how badly injured he was because the newspaper said he had survived,” remembers Heiskell. It was not until later the next day, upon visiting Diaz in the hospital, that the gravity of the situation hit home. “We followed his condition from that point on. It was a long, long period.”

   Diaz lay in a coma in the hospital for eight weeks. Eventually he rallied, but has been quadriplegic ever since.

   At that time, Bronco IIs had been under fire for their inordinately high rollover rate. According to one of Ford’s own experts, Michele Vogler, in six states alone as of 1997 there were 5,672 Bronco II rollovers and, according to National Highway Traffic Safety Administration (NHTSA) statistics, the Bronco II had the highest rollover fatality rate of all SUVs. For comparison, the 1988 Bronco II had a static stability factor (SSF) of 0.99, as opposed to the 1987 Jeep Wrangler, which had an SSF of 1.16. The higher the SSF, the lower the rollover risk.

   After bad publicity from Consumer Reports, Ford discontinued the Bronco II in 1990, replacing it with the Ford Explorer. The Explorer has since become the most popular SUV on the market, selling more than 5 million automobiles since the first model. There are still approximately 200,000 Bronco IIs on the road today.

   Prosecuting the big car companies for rollover incidents first burst into the public spotlight in the 1960s with the book Unsafe at Any Speed, by then-young consumer advocate Ralph Nader. The book criticized rollover rates in the General Motors Corvair sports car. The fallout brought fame and fortune to Nader; it also prompted the establishment of NHTSA.

   In his preface Nader writes, “A great problem of contemporary life is how to control the power of economic interests which ignore the harmful effects of their applied science and technology. The automobile tragedy is one of the most serious of these manmade assaults on the human body.”

   According to the federal government, rollovers kill more than 10,000 people a year. Light trucks, especially SUVs, have 127 percent as many rollover crashes as passenger cars.

   Oblivious to the Bronco II controversy before Diaz’s accident, Heiskell filed suit on his behalf against Ford, arguing that an engineering defect had caused the rollover that left Diaz in a wheelchair. It was a year of full-time work sorting through documents and depositions (a trip to Heiskell’s “war room” today reveals boxes upon boxes of paper piled to from floor to ceiling) before the case went to court.

   “I saw him getting actually more angry at [Ford],” Diaz recalls about watching Heiskell’s evolving spectrum of emotions throughout preparations. “From that point on he’s gotten more and more infuriated with their attitude: the fact that it’s criminal and they know it. He takes it very, very personally.” The case was settled out of court and thus the settlement is not public information, but both Diaz and Heiskell agree that it was “substantial.”

   From that case came another. At this juncture, Heiskell’s firm at the time said, “No more Ford cases.” The firm was regional counsel for Dupont, a supplier for Ford. Instead of kowtowing, Heiskell left his $100,000-a-year partnered position and went out on his own.

   “After [the Diaz] case,” he says, “came another and another and another.” And he took them all. In the course of a single year, Heiskell had gone from standing by Goliath’s side to standing squarely beside David’s.

   His work has been featured in The New York Times, Lawyers Weekly USA, Trial: Journal of the Association of Trial Lawyers of America, Trial Excellence, on “CBS Nightly News,” and in the 2001 book, Why Lawsuits Are Good for America: Disciplined Democracy, Big Business, and the Common Law by Carl T. Bogus.

   “He was very sensitive to the fact that I wanted to get the word out about the Bronco II,” says Diaz. “One of the things I wanted was to raise awareness. He’s done that through the media consistently [since taking my case].”

   Heiskell now carries a load of about six cases a year, almost all against Ford. As for Diaz, Heiskell visits him every time he’s in Morgantown. They talked on the phone just last month.

 

In April 1987, at the same time when Heiskell was still defending R.J. Reynolds against smokers blaming big tobacco for their smoking-related ailments, 2-year-old Adam Matayszek (pronounced Mata-zak) was getting thrown out the window of his family’s Bronco II and onto Interstate 77 in Cleveland, Ohio. The SUV rolled three times across the highway after Adam’s father made a quick right-hand maneuver.

   In the wake of the accident Ford’s attorney and Matayszek’s father, unaware of the Bronco II’s design flaws, rushed to a settlement based on erroneous health reports that Adam’s prognosis was “excellent.” However, the child’s condition worsened in the years that followed. According to Matayszek’s rehabilitation doctor, he now routinely experiences attention deficit problems and daily seizures.

   On behalf of Matayszek, Matayszek’s guardian successfully reopened the case in the late ’90s. At that time, Heiskell had recently won a $17.5 million Bronco II settlement, news that made national headlines. As a result, Matayszek’s guardian brought Heiskell on board in 2000. When the case goes to trial later this year Heiskell plans to seek in excess of $20 million on Matayszek’s behalf.

   This case resembles many of Heiskell’s other clashes with the corporation. Based on a library of more than 700,000 pages of documents (“A lot of paper. A lot of work. A lot of work reading that paper,” he jokes), Heiskell’s argument against Ford is singular: Ford knew from the first testing sessions that it had a defective product and that they were marketing that product to American families. The company then deliberately hid this information from the public.

   Since the lawsuits started rolling in, Ford, too, has maintained a single, three-fold defense: Driver error, free market economy and the way the cookie crumbles. They were simply giving the people what they wanted. Moreover, some car out there has to have the worst rollover ratings. Too bad it’s ours, but that’s life.

   Ford first conceived of the Bronco II in the early ’80s as a way to get on the SUV bandwagon that began with the wildly popular Jeep CJ. In typical Henry Ford “one-size-fits-all” fashion, Ford designed the vehicle with what they already had on hand: the Ford Ranger pickup. Put in a backseat and covered roof in lieu of the Ranger’s truck bed and, presto, a ready-made SUV. This proportional tweaking threw off the center of gravity that made the Ranger a safer ride, encouraging the Bronco II’s habit of tipping over, then rolling over.

   When Ford turned over its Bronco II library to Heiskell, 53 key documents were missing. Among them, a risk assessment of the Bronco II conducted by Ford when, out of fear for the safety of their test drivers, they halted testing in the spring of 1982.

   Stepping from behind his desk, Heiskell hauls out a small television and VCR, perching them on the edge of his desk. He then slides in a VHS tape of a Ford Bronco II safety test.

   After a moment of blue screen and static, a sunny day at Ford’s testing grounds in Minneapolis comes into focus. Part of the pavement has been sprayed with water and left to freeze, creating a thin layer of black ice on the road. The Bronco II’s entry speed is 18 mph. As soon as the vehicle hits the ice it starts to slide. The test driver makes a corrective steering maneuver (Heiskell repeatedly compares it to swerving to avoid a kid on a bicycle) and the vehicle starts to tip. Outriggers attached to the sides of the car stop it from going all the way over.

   The test takes no longer than 30 seconds. Heiskell rewinds and watches again. And again. And again.

   “They put almost 800,000 American people into this vehicle,” he says, shaking his head and lingering, almost reverently, on the phrase “American people.”

   Initially, Ford engineers had presented Ford with five alternate designs, three of which widened the track width, but Ford stuck to its original design. According to Heiskell’s calculations, widening the track 3" to 4" would have put the car in the same category as the Jeep Cherokee, which has 20 percent the Bronco II’s rollover rate.

 

The major breakthrough in the Bronco II controversy came when Heiskell discovered Ford had been paying off a former staff engineer to testify in the corporation’s favor. David Bickerstaff originally criticized the Bronco II design, recommending that Ford widen the vehicle’s track width to allay stability concerns. In his court testimonies in rollover cases, however, Bickerstaff made a 180 from his original assessment. On the stand, Bickerstaff testified that the Bronco II was O.K. Such testimony enabled Ford, in the original Matayszek case, for example, to conceal Bronco II design defects.

   Suspicious, Heiskell issued a subpoena for an “agreement” between Bickerstaff and Ford he’d heard about in the Diaz case.

   “I feel I should be reimbursed for my current rate at $4,000 per day in Ford’s favor,” writes Bickerstaff in the document Ford’s lawyers produced. Following a paper trail, Heiskell then discovered that the deal Bickerstaff wheedled ultimately netted him $5 million between 1990 and 1998; it netted Ford supposedly legitimate expert testimony in support of its supposedly safe vehicle.

   As a result of Heiskell’s work, Bickerstaff was promptly taken off the stand and off Ford’s payroll. The discovery made headlines everywhere from The New York Times to Trial, and it clouded NHTSA’s opinion of Ford.

   “Heiskell performed a real public service in letting the agency know that Ford had withheld information,” says Allan Kam, senior enforcement attorney for NHTSA from 1975 to 2000, “I, for one, became very skeptical of Ford’s representations to NHTSA. It became clear to me that the agency had been hoodwinked by [the company].”

   The Bronco II’s rollover rate prompted a NHTSA investigation and while the administration officially ruled in 1989 that the Bronco II was no more dangerous than other SUVs of comparable size, the decision remains controversial.

   In response to the decision, the PBS program “Frontline” quoted NHTSA director under President Carter, Joan Claybrook, as saying, “[The Bronco II] was the bad actor, and when [NHTSA] refused to do a recall of that vehicle it gave a pass to every other SUV. It essentially sent a message to Detroit: ‘You can make your SUV as rollover-prone as you want to, this agency is not going to find that’s a defect.’”

   That same year, 1989, the Bronco II failed Consumer Reports handling tests and the magazine warned readers against purchasing the vehicle. A year later, Ford put the Bronco II out to pasture, replacing it with the Explorer.

   “It’s not just hiding documents,” says Heiskell, riled up after the Bronco II test video and talk of Bickerstaff. “They have lobbyists in Washington working on NHTSA guys, taking them to lunch, taking them to golf tournaments. Then they’ve got their key legislators from Michigan, and they’re constantly supporting conservative, pro-business judges. Whatever Ford wants, Ford gets.”

   He sits down at his desk and is silent a moment.

   “It’s truly David versus Goliath,” he muses. “And Goliath has lined up a lot of friends.”

 

Late one recent afternoon, the Boar’s Head’s tennis courts still steaming from a sudden thunderstorm, Heiskell and his tennis partner, Deesh Teja, have donned almost identical tennis whites. Aside from the two of them, the courts are empty and silent, save for the shuffle of their feet on the clay courts and the satisfying sound of a steady rally as the ball makes contact with the racquets. The competitive edge his colleagues and adversaries know from the courtroom is on display when Heiskell steps onto the tennis court.

   “I love racquet sports,” he explains on a water break between games, “because you can hit something with all you got.”

   By the time he wins the first four games, he’s dripping with sweat and has to switch racquets to let the grip on his primary racquet dry.

   Back at it, he misses an easy ball.

   “Aw, Hike!” he yells to himself, shaking his head.

   Likewise, when Teja hits a tough ball, Heiskell bows his head and walks to the baseline, saying, “Nice one, Deesh.”

   Teja gives Heiskell a real workout in the next six games, winning all of them and, thus, the set. Teja, however, laughs between catching his breath that this happens only “once in a blue moon.”

   Soaked with sweat and red in the face, Heiskell makes his way toward the parking lot where his “baby” patiently waits: She’s a 1994 forest green manual transmisssion Saab convertible. He loves her. She’s so well loved, in fact, that the driver’s side seat has busted its stitching and the stuffing is popping out. He opens the door and climbs inside. Moments later, the engine revs and Heiskell’s pulling onto the narrow country club road, low to the ground and hugging the turns.

Categories
Uncategorized

More than moonshine

Jolie Holland laughs a lot. It’s not something you’d expect from someone whose lyrics embrace the dimly lit nooks and crannies of the South. High off a soulful, horn-filled hometown gig with friends, Holland revealed during our recent phone interview that aside from the fact that she doesn’t own an iPod or a computer, she’s not the vintage persona that her rootsy, cinema-noir music might suggest. Rather, she’s the type of girl who prepares freshly squeezed, pomegranate mimosas for her in-studio audience while recording and admits that she has a soft spot for “amazing, sexy musician men,” especially the horn players from her last show. She is as difficult to pinpoint as her signature rise and fall vocals and hybrid sound. She’ll perform at Gravity Lounge on Sunday, July 16 at 7pm.
    A Texan by birth, Holland spent much of her young life dabbling in music and by age 16 was seriously writing songs, despite the fact that she never had formal training. “People are always talking to me about my childhood and music,” says Holland. “That has nothing to do with my music. I listened to, like, The Cure, The Smiths, Depeche Mode, but they want to hear something that has to do with my music.” One critic went as far as to dub Holland an “Appalachian Billie Holiday,” which puzzles the songstress. ”Well, let me just tell you. I’ve never owned a Billie Holiday record and I know nothing about Appalachian music.”
    After founding the Be Good Tanyas in the 1990s, Holland departed and recorded a handful of homemade songs that would become
Catalpa, her lauded 2003 debut. The humble basement recordings snagged the attention of Tom Waits, who nominated her for the Shortlist Music Prize. The follow-up, Escondida, catapulted Holland into the public eye and the hearts of music critics with a slew of four-star reviews.
    Her latest release,
Springtime Can Kill You, is aching beauty at its best, again defying categories as it merges jazz horns, blues slides and brushed drums. It waltzes from country to folk and undulates with Southern Gothic eeriness. It’s no surprise that she cites Tom Spanbauer’s image-laden work In The City of Shy Hunters and Bulgakov’s The Master and Margarita as recent inspirations. Then there’s her contact with a diverse network of players including bluesman Taj Mahal that contributes to Holland’s unique style. You have to wonder if she finds the darkness of things more beautiful, considering her woeful words, but she says, “No.” “It’s just a response to what’s happening. I just believe in telling the truth, but my life has been pretty hard lately.”
    Today, however, Holland is practically beaming over the wire despite only a few hours of sleep and explains that while touring can be exhausting, it’s an overall good time. A recent stint of European dates produced much new material, including two songs in one night, a feat Holland calls “ridiculous.” Unexpectedly, she offers up an engaging thought just before a faulty connection cuts the conversation short. “My friend and I came up with a really great thought together, “says Holland. “In his great accent, he said, ‘There is no justice in the world,’ and I said, ‘but there
is magic.’ Somehow together we came up with ‘maybe there’s no justice in the world because there has to be magic.’” You get the feeling that Jolie Holland is far from old-fashioned, but definitely an old soul.

Categories
News

American graffiti

Dear Lou: What’s the deal, you ask? You’ll forgive Ace if he’s reluctant to play societal psychologist, since he’s more at home with a pen and a cold one than leather couches and weird dreams about trains and cigars. Freudian jokes aside, however, Ace feels compelled to point out that graffiti is nothing new—scrawled vandalism has been found in sites as old as the ancient Roman city of Pompeii. And yes, our venerable Charlottesville (though not quite so old) has seen its fair share, too.
    One of the more prominent places for plucky painters to put public profiles and prolific punditry (whew!) is on Rugby Road’s Beta Bridge, a longtime billboard of sorts for UVA students. An outdoor wall at Charlottesville High School has served much the same purpose for years. And, of course, there’s the recently erected Community Chalkboard on the Downtown Mall, which actually encourages a chalk-centric version of this expressive act. The stencils that you have in mind, however, are a more recent phenomenon.

    The image of Condi (which, Ace must concede, looks pretty furious) is just one of many stenciled celebrity mugs that have sprung up in the past few years. Bob Saget and Charles Bronson (or at least their likenesses) could be seen in various places off Route 29 a while back, as reported in a 2002 story in The Daily Progress. An inscrutable etching of Dr. Cornelius from
Planet of the Apes, accompanied by the word “conquest,” was (and still is) visible in many areas.
    So who, exactly, would risk the law’s wrath for Chuck Bronson? (Besides Lee Marvin, that is.) That, Ace must report, is still a mystery, given the artistes’ understandable desire for anonymity. One follower of local graffiti, though, ventured his opinion as to why they might do it. Carter Felder, administrator of the website charlottesville graffiti.com, says, “It’s mainly all about the art and getting people’s attention.”

    Admirers of these bits of unorthodox local color had best not get too attached, however. Charlottesville officials have a system in place for wiping out graffiti, even when it’s on private property. Jerry Tomlin, of the City’s Neighborhood Development Services, noted that since his office started the program, “we’ve gone from about five [instances of graffiti] a day to two a week.” Bad news for those damn dirty apes, I guess.

Categories
Arts

Bom Beleza

Madeline Sales grew up in Charlottesville, then attended Duke University. After college, she traveled through Latin America. She ended up in Bahia, the northern province of Brazil that is renowned for its music, and there she met Humberto Sales. Humberto began playing guitar as a child, and by the age of 12 he was playing very seriously. He was at the university when he and Madeline decided to pool their talents into a group. The band was so good that they received numerous offers to play abroad. On a return trip from Turkey, the two decided to return to her home here, and they have been performing samba, bossa nova and other styles as Beleza Brasil. They play every week at The Bluebird Café, Bashir’s and Zocalo, and Humberto is busy giving guitar lessons. The duo also have a CD that was recorded in Brazil that is due out this August.  

Spencer Lathrop: Brazilian bands?
Madeline Sales:
There is a singer named Cybele, who I think is based in France now, who sings nice, soft bossa nova stuff with just a guitar. In the traditional vibe, I like Rosa Passos, and I like Marisa Monte’s voice. Carlinhos Brown is a very smart, interesting musician. He brings a lot of people together. And a band, Bossacucanova. I love that stuff. We would like to figure it out more but it would take us a lot more tech.
Humberto Sales: Bossacucanova has a good record, Uma Batida Diferente. We get lots of ideas from them. From my town in Bahia comes Gilberto Gil and Caetano Veloso. There is a very famous mandolin player named Armandinho. There is a great musician named Aderbao Duarte, who is the only one who can play like Joao Gilberto. He is keeping that music alive. Jorge Ben, who is Tropicalia era, but he also really likes funk. And Monica Salmaso, from Rio, but she is doing really well in the U.S.  

Samba? HS: I have a lot of great records, but Djavan has an album called Seduzir, and at the moment he is playing really good samba. I admire Joao Bosco, who has had a great influence on my playing. There is a group of samba players called Fundo de Quintal, which means backyard. They would get together in their backyards and bring hand percussion, guitars and mandolin. If you want to hear quality samba, they are a very good band.

Flamenco? HS: First of all, Paco de Lucia. He is very important because Flamenco music was the blues and came from the lower social classes, and he brought it to the concert level. He drew his path in a hard way. He was just a boy and wanted to play soccer with his friends, but he had to stay away from his window playing the guitar. He had a mission “to be the best.” De Lucia has about 35 albums, but Solo Quiero Caminar is a very good one. Tomatio from Spain. He is a real gypsy, and was performing a lot at 12. Vicente Amigo is part of the new generation of players, as is my teacher Gerardo Nunez. And Augustin Carbonell, who is also a gypsy and the nephew of Sabicas. He can play like de Lucia.   

Categories
Living

We Ate Here

Nothing makes a rainy morning feel cozier than running through the drizzle toward the warm light of a bakery, knowing that a beautiful selection of pastries awaits within. We thought hard and chose a blueberry cream-cheese Danish—it just looked so appealing inside the glass case, like a little boat full of berries. The crust was buttery and flaky and dusted with powdered sugar; the cheese was just a little tangy; the not-too-sweet berries were dotted with a crunchy crumb topping. Who says rain is bad weather?

Albemarle Baking Company 418 W. Main St. 293-6456   

Categories
Living

Thousands of tunes at your fingertips (legally!)

    The digital music world has become a confusing jumble of online stores, generic radio stations, and illegal downloading programs (Napster vs. Metallica, anyone?). If rifling through the virtual smorgasbord of choices isn’t your cup of tea, there is a friendlier option out there. Pandora, an offshoot of the Music Genome Project, offers listeners the chance to create and customize streaming audio “stations” according to their personal tastes.         The Music Genome Project is a momentous, user-created database that categorizes 60 years of music, from a wide variety of genres (sorry, classical and world music fans—they haven’t gotten to you yet). It seeks to identify the “genes” that make up the identity of a song—upwards of 400 different attributes based on technical makeup and listener appeal. Now, fueled by this database, the Genome Project geniuses have created Pandora —a Web-based music player that allows users to personalize up to 100 stations that, theoretically, will cater to the listener’s every whim. Here’s how it works: You tell Pandora a song, album or artist you like, and it spits back a radio station designed around the musical attributes of that selection. It even explains the reasoning behind the songs it chooses. Still not satisfied? Well, you can always add songs you like to a favorites list for later reference. And, for all you control freaks out there, there are other ways to refine the station as you listen. Giving a song a “thumbs down,” for instance, causes similar-sounding tracks to play less often.
    Yes, registration is required, but at least it’s free (you can also subscribe to access the ad-free version). Rewinding is not permitted, because that would allow users to play specific songs on demand, which is a no-no for streaming audio sites. Same goes for too many skips in one hour—if you want to find a specific song, Pandora suggests that you buy it on iTunes or Amazon.com. Technicalities aside, the site’s sleek and simple design is sure to steal you away from other pocket-gouging digital music options. Why? Because their goal is to help curious music-lovers discover new tunes—no credit card (or jail time) required. Mission accomplished.

www.pandora.com

Categories
Arts

Culture Bin

Big Head Todd and the Monsters w/ Toad the Wet Sprocket Charlottesville Pavilion
Saturday, July 8, 2006

music

    Music has the great gift of conjuring up memories and reminding us of times long past. Well, over the weekend, two big acts from the ‘90s who have somewhat dropped off the musical map traveled to Charlottesville (via time machine, perhaps?) to remind us of who they were, and why they mattered.
    Taking the stage first was Toad the Wet Sprocket, who broke through on the alternative rock music scene in 1991 with their reverb-drenched single “All I Want.” Led by front man Glen Phillips, the band played all the songs that made them famous, including “Walk on the Ocean,” as well some newer, equally melodic tunes that, at times, recaptured the band’s famous way with a catchy, harmony-laden hook. Although the Toadsters officially parted ways in 1998, they’ve reunited for this summer tour and, if this performance is any indication, they might just have a chance of capturing a new audience.
    Second out of the gate was Big Head Todd and the Monsters, those frat-circuit faves who rose out of Colorado in the ‘90s with their hit album
Sister Sweetly. Big Head Todd’s signature R&B sound, coupled with American rock anthems, propelled them to the top of the charts. The Charlottesville crowd definitely hung onto their favorites, including “Bittersweet,” ”It’s Alright,” “Boom Boom” and “Circle.” There was certainly no shortage of energy, and guitarist Todd Park Mohr played his guitar with infectious flair and flavor.
    It was a surprisingly memorable evening at the Pavilion, and many listeners seemed delighted to be reminded of those brighter, less complicated days in the mid-‘90s when Big Head Todd and TtWS filled the musical gap between Seattle’s grunge explosion and traditional American pop. There was definitely some nostalgia in their acts, but, like all of us, these acts just keep looking and pushing forward.
— Bjorn Turnquist  

 
Enchanted April
Heritage Repertory Theatre
Through July 15
stage

    Along with my ticket to Heritage Rep’s production of the stage version of Enchanted April, I brought some baggage. I’m a fan of the original 1922 novel by Elizabeth von Arnim—a once famous and now sadly neglected writer, and a fascinating woman whose life was as spirited as the title of her autobiography, All the Dogs of My Life. And I’m also a fan of the 1992 movie version, starring Miranda Richardson, Joan Plowright, Alfred Molina, Michael Kitchen and Jim Broadbent—a virtual who’s who of inimitable British actors.
    To all this could I add yet another layer of appreciation? Would I encounter a whole new way to engage with the story of four women—two
disenchanted housewives, Lotty Wilton and Rose Arnott (Beth Gervain and Ann Talman), a young socialite, Caroline Bramble (Faith Noelle Hurley), and an elderly dowager, Mrs. Graves (Daria T. Okugawa)—in post- World War I England who muck in together to rent a villa on the Italian Riviera? The answer: Act I left me cold, and not just because it takes place in a drizzly London, while Act II warmed me back up, and not just because the lovely villa and the rest of the set designed by Tom Bloom seems drenched in sunshine.
    Veteran Heritage Rep director Douglas Sprigg lacks ideas when it comes to creating tension in Act I. Yes, Lotty and Rose’s husbands, Mellersh and Frederick (John Paul Scheidler and Robert Porter), are just the right shade of irritating, but the wives’ longing to replace a sterile world with a fertile one is more stated than deeply communicated. In fact, the only real tension is between Talman and Okugawa’s subtle
and Gervain and Hurley’s overly mannered performances.
    Act II clears the playing field. Sprigg suddenly seems right at home. With little brushstrokes he builds a rich atmosphere that pools the resources of all the actors. And with splashes of color he stretches out the elements of classic British farce— stronger than in the novel and the movie— to garner some genuine laughs.
    In the end, the charming story charmed me once again.
—Doug Nordfors 

 
NFL Head Coach
Electronic Arts
PlayStation 2, Xbox, PC Rated: Everyone
Games

I now know why Bill Belicheck seems terminally grim (even when his team is winning) and Marty Schottenheimer and Tony Dungy always look like they’ve swallowed several wads of tinfoil on the sideline.
    Being an NFL head coach is the world’s most tedious job, you see, and they’re dreading the 100-plus hours of micromanagement tasks they’ll be slogging through when the final gun sounds.
    That’s the impression you get, anyway, from playing through a season in
NFL Head Coach, Electronic Arts’ debut attempt at a sports-management sim. This is a game that, for better and for worse, puts the minutiae of literally thousands of coaching and management decisions squarely into your twitching hands. Down time? The high life? Not in this league, baby—there are plays to develop and e-mails to read.
    Historically, these sorts of games have been little more than menu-based spreadsheet programs masquerading as sports games. In terms of text-based management sims, football’s fallen on especially hard times here in the States;
Front Office Football, that old series veteran, has been MIA since 2003. NFL Head Coach takes what was great about those games, adds enough extra busywork to choke even Vince Lombardi and puts a nifty graphical sheen on the whole affair. Setting practice times, massaging depth charts, hiring coaches and free agents—these are just a handful of things you’ll have to do before even calling the first snap.
    The Madden engine fuels the actual onfield parts of the game, so the plays you eventually develop and call will look as sharp as they do when you’re the one controlling them in
Madden ‘06. Unfortunately, you’re not the one controlling them here— you just pick and hope for the best, a goal the game’s AI botches a little too often. Even when you’ve slathered the positive motivation and maxed out attribute points, a well-prepped quarterback will still cough up some seriously puzzling turnovers. Then again, I imagine this is how Brian Billick feels when he’s watching Kyle Boller heft his third interception of the day, so perhaps EA’s nailed this aspect more closely than I realize.
    If you’re the sort who’d rather be the one juking the D for a 70-yard touchdown run in
Madden ‘06, run far, far away from Head Coach—you’ll likely be clawing your eyes out before preseason begins. Control freaks, on the other hand, may just have found the foundation for a Super Bowl contender. —Aaron Conklin